It’s been over 40 years since it became a worldwide theatrical phenomenon, and still to this day, if you ask any person the scariest horror movie they’ve ever seen is, there’s a more than likely chance they’ll say THE EXORCIST. One of the main reasons this might be their answer is pretty simple: THE EXORCIST is a master class in horror filmmaking from all parties involved. However, one of the other main reasons you hear that title so frequently is that THE EXORCIST did something that JAWS, THE BLAIR WITCH PROJECT and A NIGHTMARE ON ELM STREET did not: it made a monster out of The Devil.

It’s not every day that FANGORIA is invited to London for a set visit to a Jane Austen-inspired film. What’s not to love—the incredible location, classic language, gorgeous period clothing—oh, and a rotting corpse or two.

Welcome, FANGORIA Readers, to CROSSING OVER, our newest column that highlights the films, series and content out there outside of horror that is fashioned towards or pays tribute to our beloved genre. By shining a light onto these projects, FANGORIA hopes to open a world of entertainment perfect for fright fans that lies just beyond the borders of the horror community. So without further ado…

As a producer, Roxanne Benjamin had an integral role in the V/H/S franchise, and now she has reteamed with that crew and also makes her directorial debut with SOUTHBOUND. She tells FANGORIA about this unique anthology and her “Siren” segment in this exclusive interview.

AN AMERICAN WEREWOLF IN LONDON is one of the rare horror offerings that has near unlimited replay value, primarily because you’re bound to find something new to appreciate about the film with every subsequent viewing. This applies even beyond the in-jokes and moon/werewolf-related visual gags, but even in terms of performances and dialogue, as picking up subtle inflections and cinematic beats can change the dynamics of a scene entirely. For a genre that rarely provides such layering, especially in the horror comedy subgenre, it’s no wonder why AMERICAN WEREWOLF stands the test of time so well.

While horror hounds might be more familiar with David Bowie and Tony Scott’s moody, macabre vampire film THE HUNGER, far less are familiar with their reunion on the second season premiere of THE HUNGER. While unrelated to the film in content, the themes and visual style are quite similar on the series, which is closer to a Gothic horror anthology in nature produced by Scott Free in the late ‘90s and aired on Showtime. And in the first episode of the second season, entitled “Sanctuary,” Bowie returned in front of the camera for Tony Scott, playing Julian Priest in an episode of horror television that is as creepy as it is bold and strange.

Of all the frightening destinations visited in the horror anthology SOUTHBOUND, the most gut-wrenching is the hospital where David Bruckner’s “The Accident” takes place. The writer/director delves into his grisly contribution in this exclusive interview.

All is very dark and wet on the McLaren Vale farmhouse set of THE PACK, situated an hour’s drive from Adelaide in South Australia’s wine country, when Fango arrives to take in the filming of producer Michael Robertson’s latest and perhaps last foray into natural horror, following BLACK WATER and THE REEF.

For this writer, Richard Bates Jr.’s EXCISION is one of those essential genre titles that operate close to the vein of horror comedy and yet don’t quite follow the horror-comedy mold. Much akin to William Friedkin’s KILLER JOE and, to an extent, Daniel Waters’ HEATHERS, EXCISION carries a mean-streak and matter-of-fact presentation of its darker, disturbing material that feels less conventional and yet completely humorous in execution. And furthermore, EXCISION is the kind of film that features an old school vibe in that it moves and is stylized at its own pace, giving characters their own moments to live and breathe within the universe while presenting artistic flourishes that feel unique and different from other depictions of internal fantasies.

Iowa-born Patrick Horvath has often joined Alabaman Dallas Hallam as a writer and director of a uniquely earthbound brand of horror, and now they’ve headed deep into the American desert for SOUTHBOUND. Horvath spoke to Fango about their contribution to the much-praised anthology feature.

With voting season now open on the FANGORIA Chainsaw Awards, fans are putting their minds at work to select their favorites out of every potential nominee. When it came to the Best Foreign Language Film category, there was some argument as to what technically counted for the category, eventually disqualifying technically-released-in-2015 film ANGST (due to it’s 1983 production) and WHITE DOG. Meanwhile, The Mo Brothers’ KILLERS and the anthology film MEXICO BARBARO were also in contention, but eventually were bumped out by its creepier competition. And after some careful consideration, FANGO found five fright flicks worthy of taking home the Gold Chainsaw.

Welcome, FANGORIA Readers, to CROSSING OVER, our newest column that highlights the films, series and content out there outside of horror that is fashioned towards or pays tribute to our beloved genre. By shining a light onto these projects, FANGORIA hopes to open a world of entertainment perfect for fright fans that lies just beyond the borders of the horror community. So without further ado…